: f , 


ae S dnglish Obie. -pcnts 
of the (Sth Gentury 


Old dnglish Sporting Bente 


M6, Sbnoedlex S Gompany 


14 Saot Fifty-Peventh Sireet 
ew York 
1925 
































Catalogue of 
An Exhibition of 


French S Snglish Golowe-prints 
of the 1Sth Gentury 


Od dnglish Oporting Lrints 


December 14th, 1925 
to January gth, 1926 


Nb. Sbnoedler S Gompany 


14 Gast Fifty-Seventh Street 
WGew York 





CATALOGUE 


FRENCH COLOUR-PRINTS OF THE XVII CENTURY 


3 HOSE Who have been endowed by nature with a taste for the higher 

forms of art will find in the collection of eighteenth-century French 

prints a new field replete with unexpected interest and pleasure, 

the study of the estampe galante bringing its votaries into close touch 

with life as it was lived under the Ancien régime, when artistic and grace- 
ful refinement was a conspicuous feature of the age. 

Never in the world’s history were the mere accessories of existence 
embellished with such exquisite decoration as then; never, perhaps, was 
the human eye better trained with intricacies of felicitous restraint and 
unerring balance. The level of refined elegance attained by the noblesse 
—around whom hovered a crowd of artists, sculptors, engravers, and 
architects, too often, alas! clamorous for payment—permeated the very 
heart of the country, and the upper class of France prided itself on setting 
the standard of taste for the world. 

A characteristic of the French eighteenth-century engravers was 
their love of pleasure, into the pursuit of which the majority entered 
with just as great zest as did that fashionable world, the life of which is 
reflected in the prints of their day. 

Artists, publishers, and engravers feasted and supped together, whilst 
most of them flung away the sums earned by the exercise of their talents, 
without the slightest hesitation or restraint. For them the spirit of 
economy did not exist; children as regards money, a full purse served 
but to gratify the caprice of the moment. Ever ready to give or to lend, 
and careless of the morrow, they trusted in a future which brought to 
the majority but poverty and woe. 

“The beautiful estampe galante, it may confidently be affirmed, will 
maintain its position. Exhaling the very spirit of the ancien régime, its 
charms must ever appeal to all lovers of daintiness and grace; whilst at 
the same time, owing to its accurate delineation of architecture and 
costume, it is certain to retain an undying interest for the student of the 
vanished age.”’ 

Raps Neviti: French Prints of the Eighteenth Century. 


PIERRE-MICHEL ALIX 


‘Ir was in coloured portraiture that Pierre-Michel Alix found his 
métier as an engraver, and some of his portrait-prints are among the best 
of the period. Aquatint was his medium, and he used it, amu repérage, 
with very happy skill and a nice pictorial sense. 


Ea 


Matcoum C. SALAMAN 


1 DaLEMBERT 


Jean Baptiste le Rond d'Alembert was an editor of the Encyclo- 
pédie for which he wrote the introduction, the mathematical ar- 
ticles, and part of the biographies. In 1772 he became perpetual 
secretary of the Académie Francaise, and in that capacity was 
spokesman of the parti des philosophes of which Voltaire was the 
head. : 


2 GuILLAuME THomMaAs RayNAL 
After the painting by Garnerey. 
Collection: Frederic R. Halsey. 


Guillaume Thomas Francois Raynal, called Abbé Raynal, was a 
French historian and philosopher. He was a priest attached to 
the parish of St. Sulpice in Paris, but was dismissed for bad con- 
duct, and subsequently devoted himself to literature. His best 
known work is the ‘Philosophical and Political History of the 
Establishments and Commerce of the Europeans in the Two 
Indies’’: published in 1770. The book was burned by order of the 
Parliament in 1781 on account of its liberalism, and its author 
was exiled. The same year he published ‘“Tableau et revolutions 
des colonies Anglaise dans 1’Amerique Septrionale,’’ of which 
there is a very poor English translation. His sentence was re- 
versed in 1788, and Raynal returned to France. He was regarded 
as a leader of the French freethinkers. 


3 VOLTAIRE 
After the painting by Garnerey. 


‘Here is Voltaire, as pictured by Garnerey, smiling, of course, as 
it was his habit to smile, at everything—a smile that lives un- 
forgettably, immortally, in the extraordinary legend and influ- 
ence of his life, as it does in Houdin’s wonderful statue in the 
foyer of the Théatre Francaise. Yet you remember how Voltaire’s 
smile would have eluded Houdin altogether had not a chance 
visitor to the sculptor’s studio recalled it by happily reminding 
the aged immortal how the actors of Paris had crowned him 
with laurels in the Maison Moliére. In Alix’s print it also lives.”’ 


Matcoitm C. SALAMAN 


4 La LantTErRNE Macique p’AMouR 
After the painting by Challe. 
Proof before all letters. 
[6 ] 


LOUIS MARIN BONNET 


“AxtTHouGH his claim to the invention of the crayon manner cannot 
be sustained, he certainly extended its value by using it on a series of 
plates for printing in colours in imitation of pastel drawings. The pastel 
manner was indubitably Bonnet’s own, and, perhaps, it was his most 
valuable contribution to the history and practice of engraving... . He 
had undoubtedly a flair for the popular novelty, and when English 
fashions were the vogue in Paris, Bonnet added an artificial attraction 
to these prints by giving them English titles... . . As they were first 
issued in 1774, and Ryland’s earliest colour-prints were dated 1775, there 
can be little doubt that Bonnet influenced the first adventures in coloured 
stipple in England.”’ 


Matcotm C. SALAMAN 


5 THE CHARMEs OF THE MorNnING 
Engraved by Bonnet from his own design. 


6 La LarrTiERE 
Engraved by Bonnet from his own design. 


The borders of both of the above-named prints are printed in 
gold: ““L’ Invention de cette nouvelle maniére de Graver et d’imprimer 
L or a été trouvée par Louis Marin et Mise au jour le 16 Novembre, 1774." 


““His process was in essentials the same as that introduced by Frangois 
and perfected by Demarteau, but the peculiarity which distinguishes his 
work from theirs is the use of a number of plates, giving a correspond- 
ing number of colours, and enabling him to reproduce the effect of draw- 
ings in coloured chalks or pastel. Such prints were often printed on blue 
paper. He used also the rather rare expedient of printing with a white 
pigment to render the higher lights than the colour of the paper itself 
would give. . . . Bonnet invented a process of printing gold, and pro- 
duced a series of prints in which not only the coloured pastel drawing, 
but the gold frame in which it was placed, was reproduced in fac-simile. 

For some reason or other this set of prints was signed “Louis 
Marin,’ the surname of Bonnet being omitted. They have higher prices 
attached to them than any other numbers in Bonnet’s original list. . . . 
They are rather rare and the Cabinet des Estampes at Paris does not 
seem to possess them; none were included in the 1906exhibition of colour- 
prints at the Bibliothéque Nationale.”’ 


zee 


CAMPBELL DRAGSON 


JACQUES COUCHE AND JEAN DAMBRUN 


7 La Coquette FIxéE 
After Fragonard. 
Etched by Couché, finished in line engraving, by Dambrun. 


PHILIBERT LOUIS DEBUCOURT 


“THERE remains only one more engraver to discuss, but he is by uni- 
versal consent one of the greatest of all this group, Philibert Louis Debu- 
court (born 1755, died 1831). In his best period, from 1785 to 1800, he 
was a true painter-engraver, the only one of the engravers in colour of 
his period who worked entirely from his own designs, pictures, gouaches 
or drawings in water-colours.”’ 

CampseLL DopGson 


“WE come now to the most distinguished personality among the 
French colour-engravers of theeighteenth century. Philibert Louis Debu- 
court, unlike the others, was a creative artist; he had imagination, in- 
vention, he had the seeing eye, with an alert brain behind it, and a deft 
and sympathetic hand quick in its service. . . . Adopting the fully- 
developed technique of Janinet, he used it in a brilliant and vivacious 
manner distinctly his own, modifying and supplementing it at need, 
using aquatint and even mezzotint for his tones, with always a good 
deal of etching for crispness and delicacy of accent.”’ 


Matcoumm C. SALAMAN 


8 Le MENUET DE LA MARIE 


Painted and engraved in 1786. 
Collection: Frederic R. Halsey 


“In the same year came Le Menuet de la Mariée, published originally 
as a pendant to Descourtis’s La Noce au Village, after Taunay. 
But how much greater charm of pictorial expression, how much 
more vitality, how much more sense of character, individual as 
well as collective, there is in this fascinating print of Debu- 
court's than in the Taunay—Descourtis print, notwithstanding 
its grace of composition and its charming quality of colour- 
engraving. Everybody in Le Menuet de la Mariée is actually doing 
something, actually living in the picture, not posing in it. And 
this is Debucourt’s great quality, this power of investing the 
persons of his designs with life and actuality. This stout old 
bailiff is certainly dancing with the coquettish bride, there is no 


[8 ] 


pretence about it, and very careful he is to do his steps as they 
ought to be done, without shirking. There is no doubt that the 
old grandfather is giving the young bridegroom the benefit of 
some ancient nuptial jest. But the whole scene is instinct with a 
happy spontaneity, a jolly vivacity. The colour is delightful in 
its harmonious balance of tones, printed from one black plate 
and one each with blue, yellow, red and rose.”’ 


Matcoum C. SALAMAN 


9 Heur et Marueur, ov La CrucueE Cassie 


Proof before letters. In scratched script at left: 
P. 1. Du Bucourt, 1787. 


10 L’EscaLapgE, ou Les ADIEUXx DU MaTIN 


Proof before letters. In scratched script at left: Pesnt et Grave par 
P.I. Du Bucourt Peintre du Roy. 


A pair. 


“In Heur et Malheur, ou la Cruche Cassée, and its companion print, 
L’ Escalade, ou les Adieux du Matin, both dated 1787, we turn from 
the passing actualities of fashion to the eternal verities of human 
nature, romance, love’s young dream. Is there any need to de- 
scribe Heur et Malheur, ou la Cruche Cassée? Suffice it to say, the 
youth is professing himself very tenderly sorry over the broken 
pitcher, and presently, when he has induced his sweetheart to 
dry her tears, he will fetch the little shoe she has left behind her 
on the hay-heap. In L’ Escalade ou les Adieux du Matin, we see 
that love has been no laggard with these young people. 


Happy, happy time, when the white star hovers 
Low above dim fields fresh with blooming dew, 
Near the face of dawn, that draws athwart the darkness. 


Happy, are these two lovers? or do we hear the sca, passionate 
‘longing beyond happiness ? 


Love me though dusk begin and dark retire; 
Ah God, ah God, that day should be so soon. 


Well, Debucourt’s print is quite a little lyric; let it sing its mean- 
ing to you as you will.” 


Eom 


Matcotm C. SALAMAN 


CHARLES-MELCHIOR DESCOURTIS 


‘We come now to the engraver of a quartette of prints that hold their 
own, in the estimation of collectors, with the most desirable works of 
Debucourt and Janinet, and, for the sake of their colour engraving, they 
doubtless deserve this honour, if not entirely for the merit of their de- 
signs. Charles Melchior Descourtis was a pupil of Janinet, and he was 
in every way worthy of his master. He put all his technical skill and his 
charming sense of colour into the translation of Nicolas Antoine 
Taunay’s designs.”’ 

Matcou C, SALaMAN 


11 La Noce pe VILLAGE 
After Nicolas Antoine Taunay. 


‘In Charles-Melchior Descourtis (born 1753, died 1820) we have 
one of the most considerable masters of aquatint engraving in 
colours. We reproduce all four of his most celebrated works, 
after Nicolas Antoine Taunay, of which La Rixe and Le Tam- 
bourin appear to be rarer than the two others, though La Noce de 
Village is generally reckoned the masterpiece.”’ 


CAMPBELL DopGson 


FRANCOIS JANINET 


“Aways eager to grasp the new idea and turn it to account, JANINET 
was typical of his day. French society was avid of any new sensation 
that could offer the slightest pleasure or amusement. Novelty was the 
necessity of the fashionable hour, and an easy intimate charm was the 
desideratum of the social environment, with everywhere the allure of 
colour for the enhancement of that charm. In the boudoir, in the salon, 
exquisite Aubusson and Gobelins tapestries, wonderful in colour and 
gtacious in design, would add loveliness to the comfort of the canapé, 
the fauteuil and the bergere, while the new fashionable craze for Sévres 
porcelain stimulated still further the taste for colour. No wonder then, 
that, with the Frenchman’s love of the graphic arts to encourage the 
development of the new methods, the idea of colour-printing was in the 
air. Under Boucher’s inspiration, Louis Marin Bonnet and Gigs 
DermarTEAU, with pastel and crayon manners, materialized this idea on 
their copper-plates. Janrnet was not far behind; but with the aquatint 
method, at least, he was, one may believe, the first.” 


Matcoim C. SALAMAN 
tes 


*““FRANCOISJ ANINET 1s best known by his delicate renderings of the work 
of Lavreince, the Swedish artist in gouache, who produced so many 
boudoir-subjects for the pleasure-loving society of Paris, a few years 
before it was engulfed in the vortex of the Revolution. Two of the best 
of these are La Comparaison and L’ Aveu Difficile—veritable triumphs of the 
colour-engraver’s art. Another masterpiece is L’ Indiscrétion. These three 
exquisite colour-prints convey much of the impression produced by the 
paintings after which they are engraved.”’ 


Rawupx Nevitu 


12 L’Avevu DirriciLeE 
Bocher No.8 Beraldi No. 39 
After Nicolas Lavreince 


“L’ Aveu difficile (1787) which serves as a pendant to this lovely 
engraving (LaComparaison)is, likewise, most delightful.One of the 
two friends, who lately displayed her charms so complacently, 
has doubtless wished to test their power: her loosened corsage, 
the full-blown rose which, symbollically, is about to shed its 
petals, all seem to indicate it: the experiment has turned out 
badly and her wiser friend seems to say by way of consolation 
‘What do you wish ? It happens to everybody’ or, later, ‘There’s 


no help for it’. 
Henri BERALDI 


13 La Comparaison 
Bocher No. 12 Beraldi No. 4o 
After Nicolas Lavreince. 
A. Second State with F. Janinet 1787 in scratched letters. 
B. Third State with the title below and names of painter and 
engraver. 


‘‘La Comparaison, dated 1786, is one of the most captivating prints 
of the XVIII Century. Lavreince has here found one of his hap- 
piest inspirations, and Janinet has interpreted this intimate 
scene in the most sympathetic and happy manner. An engraving 
in colour, thus treated, gives the illusion of the drawing itself.”’ 


Henri BERALDI 


Lised 


14 L’INDIscRETION 

Bocher No.30 Beraldi No. 41 
After Nicolas Lavreince. ; 
A. First State—before the left foot of the seated girl appears and 
before the curls were carried further down on her right cheek. 
Of the utmost rarety. 
B. Second State—with the above changes. 

“This piece, which serves as a pendant to L’ Aveu Difficile repre- 
sents a charming and piquant scene. It is executed in an elegant 
and fine manner, and cannot but add to the reputation which 


Mr. Janinet has so rightfully acquired by his talents and by his 
discoveries in engraving and printing in colours.’’ 


Mercure de France. August 16, 1788 


“In L’Indiscrétion, of the same format as L’ Aveu difficile and La 
Comparaison, the creamy-white complexions of the two friends, 
their heads so daintily modeled, are treated with the freshness of 
a water-colour painting.”’ 

HEnrI BERALDI 


15 L’ArmaBLE PaysANE 
Beraldi No. 50 
After Saint-Quentin. 


16 La Noce DE VILLAGE 
Beraldi No. 53 


Lz Repas pEs MoIssONNEURS 
Beraldi No. 54 
After Wille fils. 
A pair. 


JEAN-BAPTISTE LE PRINCE 


‘““Wuo actually invented and developed the process of aquatint might 
admit a wide solution. Le Prince, however, is generally credited with 
the invention or, at least, the first practical application of the principle 
to definite pictorial purpose. It was certainly his aquatints that gave 
Frangois Janinet, a few years after their first appearance in 1768, theidea 
of using the process for colour, and so, as he claimed, practically initiat- 


[ 12 ] 


ing that style in colour-engraving which captured the taste and fancy of 
that gay, light-o’-loveday... . 

“A picturesque personality, Le Prince was a man of many adventures, 
wanderings and vicissitudes, and, though ‘he warmed both hands be- 
fore the fire of life,’ he seems never to have burnt them, but to have kept 
them ever ready to help him out of difficulties. With his violin he tamed 
wild pirates to good fellowship; with brush and pencil, and the art he 
had learned from Boucher, he drew fortune with him across Europe; 
with his pleasant extravagances he created that necessity which was the 
mother of his invention, Ja gravure au lavis, or, as we call it, aquatint.”’ 


Matcoitm C. SALAMAN 


17 Les Gurs CassiEs 
Dated 1769. 


ANTOINE-FRANCOIS SERGENT 

Born at Chartres in 1751, studied under St. Aubin. When the French 
Revolution broke out he became president of the Ward of St. Jacques, 
and secretary to the Jacobin Club. He performed many kindly deeds and 
was the means of saving many people from the guillotine. In 1794 he 
married Emira Marceau, sister of General Marceau, and the divorced wife 
of Champion de Sernet. For two years he was an exile in Switzerland, 
but on his return to Paris was active in artistic matters. He died, blind, 
at Nice, in 1817. 


18 Martie-THERESE CHARLOTTE, DucHEssE D’ ANGOULEME 


Daughter of Louis XVI and wife of Louis Antoine de Bourbon 
Born 1778. Died 1831. 

Proof before letters. With scratched initials, A. St. below and 
dated 1796. 

This beautiful portrait was engraved by Sergent during his resi- 
dence in Basle; and was published by Méchel, December 26, 1795. 


Collection: Frederic R. Halsey. 


STIPPLE ENGRAVINGS 
FRANCESCO BARTOLOZZI 


Few artists have reached so distinguished a rank in their profession as 
Bartolozzi, and that in every species of engraving. His exquisitely fin- 
ished plates admirably represent the spirit of the originals. 


Eee 


19 Lucy oF LEINSTER 
After Henry Bunbury. 
Proof with letters in etched script. 


20 CERES 
PEACE 
After G. B. Cipriani. 
A pair. 


WILLIAM BOND 


ENGRAVED numerous portraits after Sir Joshua Reynolds. He was 
Governor of the Society of Engravers, founded in 1803, and died early in 
the nineteenth century. 


21 Sr. CECILIA 
After J. Russell 


ADAM BUCK 


Born at Cork. Exhibited portraits in crayon and oil, as well as minia- 
tures, at the Royal Academy very frequently between 1795 and 1833. 


22 THe NyMpH OF THE VINEYARD 
Drawn and engraved by Buck. 
Aquatint and stipple. 


23 THe Motner’s Hope 
Engraved after Buck by Freeman & Stadler. 
Aquatint and stipple. 


ANTOINE CARDON 


Born at Brussels in 1772. Died in London, 1831. 


24 CALCULATION 
After B. Westall. 


Been 


J. EGINTON 


25 [HE SHEPHERDESS OF THE ALPS 
After Wm. Hamilton. 
Proof before letters. 


26 HeBE 
After Wm. Hamilton. 
Proof before all letters. 


WILLIAM NELSON GARDINER 


Born at Dublin, 1766. Died in London, 1814. Assistant to Francesco 
Bartolozzi. 


27 JANUARY 
After Wm. Hamilton. 


JAMES HOGG 


28 Tue Hanp Marp 
After H. Walton. 


29 SOPHIA 
After Revd. William Peters. 


FRANCIS JUKES 


~ Born at Martley, in Worcestershire, 1746. Died 1812. Painter and 
aquatint engraver. 


30 THE Broken PITCHER 
After J. Hoppner. 
Etching, aquatint and stipple. 


CHARLES KNIGHT 


ENGRAVED Chiefly after Singleton, Hoppner, Wheatley and Angelica 
Kaufmann. 
bee 


31 THe Return From Market 
After F. Wheatley. 


WILLIAM NUTTER 


Stupiep under J. R. Smith and Bartolozzi. Born 1754, died 1802. 
Engraved after Reynolds, Morland, Hoppner, Russell and Singleton. 


32 THE Farm Yarp 
Tue Axe-Housse Door 
After Singleton. 
A pair. 
PETER SIMON 


Born in London before 1750. His best work was done for Boydell’s 
Shakespeare Gallery. 


33 Mucu Apo asout Notuinc: Hrro, Ursus, AND 
BratricE LisTENING 
After Revd. William Peters. 


JOHN RAPHAEL SMITH 


Son of Thomas Smith of Derby. Born 1752. Died, 1833. It is not 
known by whom he was taught mezzotint and stipple engraving, but 
he became eminent in both. He led a life of business and pleasure, the 
latter predominating. 


34 Narcissa 
Designed and engraved by J. R. Smith. 


35 SOcIETY IN SOLITUDE 
Designed and engraved by J. R. Smith. 


36 A Lotsir 


Designed and engraved by J. R. Smith. Proof with title in open, 
etched letters. 


37 FLIRTILLA 
Designed and engraved by J. R. Smith. 


[ 16 ] 


38 A Maip 
Designed and engraved by J. R. Smith. 


39 WHat You WILL 
Designed and engraved by J. R. Smith. 


40 THE Toxpacco Box 
After H. Walton. 


WILLIAM WARD 


Exper brother of James Ward, and the most distinguished pupil of 
J. R. Smith. He lived in a world of art, his nearest connections being 
artists also, for he married the sister of George Morland, who, in 1786, 
had married Ward’s sister; and portraits of these ladies, who were dis- 
tinguished for personal charms, frequently appear in his subject pieces. 
He was appointed mezzotinto engraver to the Duke of York, and after- 
wards to the Prince of Wales. Died December 1st, 1826. 


4r ALMEIDA 
Drawn and engraved by Wm. Ward. 


42 Louisa 
Designed and engraved by Wm. Ward. 


43 THoucuts on Matrimony 
Engraved by William Ward after J. R. Smith. 


EDWARD WILLIAMS 


Worxinc in London at the end of the eighteenth century. He 
married a sister of James Ward. 


44 Tue Lovety BRUNETTE 
After William Ward. 


Bevan 


THE CRIES OF LONDON 


‘‘Tsm series of pictures of ‘‘The Cries of London,’’ which appeared at 
the Royal Academy, 1792-5, if not exactly the rock on which the artistic 
fame of Wheatley is erected, may at least be described as the chief factor 
in the preservation of his name from oblivion. The series consists of 
fourteen pictures, and fourteen were actually engraved; but as there 
ate two versions of one subject (‘Gingerbread’), it may be that one 
of the set of fourteen exhibited pictures never was engraved. . . . The 
extra plate of ‘Gingerbread,’ to which reference has already been made, 
differs from the usual one in having a different background and an ad- 
ditional figure. . . . It may be here mentioned that the rarest single 


ee 


plate of the set is the “Turnips and Carrots . 
W. Roserts, F. Wheatley, R.A., His Life and Works, pp. 28-32 


45 SwEET CHINA ORANGES 
Engraved by L. Schiavonetti. 


46 Knives, Scissors AND Razors TO GRIND 
Engraved by G. Vendramini 


47 CHERRIES 
Engraved by A. Cardon, directed by L. Schiavonetti. 


48 Hor Spiczk GINGERBREAD 
Engraved by G. Vendramini. 


49 TuRNIps AND CARROTS 
Engraved by Gaugain. 


ENGRAVINGS AFTER SIR JOSHUA REYNOLDS 
PORTRAITS 


50 Tue Ricut Honsie. Lapy BEAUCHAMP 


Engraved in stipple, by W. Nutter. ' 
Isabella Ann, daughter of Charles Ingram, roth Viscount Irvine; 
matried 1776, Francis, Viscount Beauchamp, afterwards 2nd 
Marquess of Hertford. 

[eset 


51 THe Honourasie Miss BINGHAM 
Engraved, in stipple by F. Bartolozzi. 


Anne, youngest daughter of Sir Charles Bingham, 1st Baron 
Lucan, and sister to Lavinia, Countess Spencer. Died unmat- 
ried, 1840. 


52 Frances IsaBELLA KER GoRDON 
Engraved in stipple, by Peter Simon. 


Daughter of Lord William Gordon, 2nd son of the 3rd Duke of 
Gordon and the Hon. Frances Ingram Shepherd, daughter of 
Charles, 9th Lord Irvine. She died unmarried in 1831. 


53 [HE CountTEss oF HARRINGTON AND CHILDREN 
Engraved, in stipple, by F. Bartolozzi. 
Proof before the title. 
Jane, daughter and co-heir of Sir John Fleming; married 1779, 


Charles, 3rd Earl of Harrington. Died 1824. The children are 
Lord Petersham and Hon. Lincoln Stanhope. 


54 Master Henry Hoare 
Engraved, in stipple, by C. Wilkin. 
Henry, only son of Sir Richard Colt Hoare, Bart. F. R. S., the 
Historian of Wiltshire, by Hester, eldest daughter of William, 


1st Lord Lyttleton; born 1785; married 1802, Charlotte, only 
daughter of Sir Edward Deny, Bart. Died, 1836. 


55 lHE Rr. Honsie. Countess SPENCER 
Engraved, in stipple, by F. Bartolozzi. 


Eldest daughter of Charles, Earl of Lucan; born, 1762; married, 
1781, George John, Viscount Althorp, who succeeded as 2nd 
Earl Spencer in 1783. 


56 Honsie. Mr. LeicestER STANHOPE 
Engraved, in stipple, by F. Bartolozzi. 
Title in etched, open letters. 


Third son of Charles, 3rd Earl; born 1784; married, 1831, Eliza- 
beth, only child of W. Green, Esq., of Jamaica; succeeded, 1851, 
as 5th Earl of Harrington. 


16.1] 


57 Mr. Puitre Yorke 
Engraved, in stipple, by F. Bartolozzi. 


Afterwards Lord Royston, lost in a storm off Ltibeck; son of 
Philip, 3rd Earl, who was the son of Charles, second son of the 
1st Earl of Hardwicke. 


FANCY SUBJECTS 


58 FEeLina 
Engraved, in stipple, by Joseph Collyer. 
Probably a portrait of Offy Palmer. 


59 THE SNAKE IN THE GRAss 
Engraved, in stipple, by J. R. Smith. 


60 THe SNAKE IN THE GRASS 
Mezzotint by William Ward. 
Chaloner Smith No. 98. 


The personage whom this charming portrait represents has not 
been ascertained. | 


PORTRAIT ENGRAVINGS 


61 Princess AMELIA : 
Engraved, in stipple, by W. Ward after H. Ramberg. 


Born 1783. Died 1810. Youngest daughter and last of the fifteen 
children of George III. 


62 Mrs. BENWELL 

Mezzotint by W. Ward after J. Hoppner. 

According to Bromley, Mary Benwell, the painter of this name, 
who exhibited at the Artists’ Society and Academy from 1761-82; 
but the print more probably represents a very different person, of 
gteat beauty, whose character is described in ‘“Town and Country 
Magazine’’ for 1786. 

[ 20 ] 


63 A Sr. JAMEs’s. BEAUTY 
A Sr. G1zes’s Beauty 
A pair. 
Stipple engravings by F. Bartolozzi after J. H. Benwell. 


Portraits of Priscilla and Elizabeth Burrough, the second and 
third of the seven daughters of James Burrough, Lord of the 
Manor of Alton Priors, County Wilts, and lineally descended on 
their mother’s side from the old Earls of Huntingdon. Priscilla 
matried Mr. Brooks, founder of Brooks Club; Elizabeth married 
Mr. Barnett, a solicitor. 


64 Marte CurisTINE 
Archduchess of Austria, Duchess of Saxe-Teschen, Governor- 
General of the Netherlands. 
Engraved, in stipple, by F. Bartolozzi after Mr. le Chevliet Roslin. 
Sister of Marie Antoinette, Queen of France. 


65 ExizaBetuH, CounTEss oF MExBorouGH 
Mezzotint by W. Ward after J. Hoppner. 


Elizabeth Stephenson, daughter of John Stephenson, of East 
Burnham, Co. Bucks, Esq.; married, 1782, John, 2nd Earl of 
Mexborough. Died, 7 June 1821, in Piccadilly, after a few hours’ 
illness. 


66 Mrs. Mitts 
Mezzotint by J. R. Smith after G. Engleheart. 
Chaloner Smith No. 108. Only State. 


Maiden name, Burchell; she first married Mr. Vincent, when she 
was a singer at Vauxhall; in 1760, appeared at Drury Lane as 
Polly, in the Beggar’s Opera, in opposition to Miss Brent, at the 
tival house. She married, secondly, Captain Mills, one of the 
survivors of the Black Hole in Calcutta, and went with him to 
India. She died at Hampstead Road, 9th June, 1802. 


67 Tue Ricgut Honorasrz Lapy Firzcinspon 
Engraved, in stipple, by Sedgwick after Buck. 


[21 | 


68 Lapy HEATHCOTE 
Mezzotint by James Ward after J. Hoppner, R.A. 
Chaloner Smith No. 23. Third State. 
Catherine Sophia, born 1769, eldest daughter of John Manners, 
Esq. (of Grantham Grange, grandson of the first Duke of Rut- 
land), and Louisa Tollemache, Countess of Dysart; married, 
1793, Sit Gilbert Heathcote, 4th Bart. Died in Grosvenor Square, 
28th May, 1825. Her eldest son was created Lord Aveland in 
1856. 


69 Tne Rr. Honsrze. Lapy Louisa MANNERS 
Mezzotint by C. Turner after J. Hoppner. 
Whitman No. 347. 
Born 1745, died 1840. Maiden name Tollemache. Married (1764) 
John Manners of Grantham Grange, Lincs. Her brother Wil- 
braham, 6th Earl of Dysart, dying in 1821 without issue, the 
peerage devolved upon his only surviving sister, Lady Louisa 
Manners, who became Countess of Dysart in her own right, 
when seventy-six years of age. Died at Ham House, September 
22, 1840. 


70 THE Ricgut HonoraBLe THE CouNTEss OF DERBY 
Engraved, in stipple, by F. Bartolozzi after Thomas Lawrence. 


Elizabeth Farren, born 1759; died at Knowsley Park in 1829. She 
went on the stage very early and played with success until April 
8, 1797, when she retired from the stage. On May 1, 1797, she 
married the Earl of Derby. She was a rival of Mrs. Abington. 


71 Lapy DuNcANNON 
Engraved, in stipple, by F. Bartolozzi, after a drawing by 
Downman. 


Henrietta Frances; born 1761; daughter of John, 1st Earl Spen- 
cer, and younger sister of Georgiana, Duchess of Devonshire; 
married, Nov., 1780, to Frederick, Viscount Duncannon. The * 
Countess died at Florence, 11th November 1811. 


72 Miss FARREN 


Engraved, in stipple, by Collyer, after a drawing by Downman. 
See note under the Countess of Derby, above. 


[22 ] 


73 H.R. H.Georcz, Prince or WALEs 
Painted and engraved by J. R. Smith. 
Chaloner Smith No. 168. Only State. 


While Prince of Wales he cultivated the friendship of the opposi- 
tion leaders, including Fox and Sheridan, and gained the ill-will 
of his father by his extravagance and dissolute habits. He was 
appointed regent when his father became insane, in 1811, and 
succeeded him on the throne of Great Britain and in the King- 
dom of Hanover, January 29, 1820. 


MEZZOTINTS 


J. GISBORNE 


74 THE DETECTION 
Tue RECONCILIATION 
After R. M. Paye. 
A pair. 
J. R. SMITH 


75 SOPHIA WESTERN 
After John Hoppner. 


76 THE FortuNE TELLER 
After Revd. William Peters. 
Engraved by J. R. Smith. 
THE GAMESTERS 
After Revd. William Peters. 
Engraved by William Ward. 
A pair. 


77 A Visit TO THE GRANDMOTHER 
After the painting by J. Northcote. 
Engraved by J. R. Smith. 

A VisiT TO THE GRANDFATHER 
After the painting by J. R. Smith. 
Engraved by William Ward. 

A pair. 


bad 


JAMES WARD 


Born in Thames Street, London, October 23rd, 1769. Died at Ches- 
hunt, November 23rd, 1859. Studied under John Raphael Smith and for 
nine years under his elder brother William Ward. As a painter of ani- 
mals he won a great reputation. 


78 A Livery STABLE 
Jas. Ward del et Sculp. 


79 Tue Rocxine Horse 
J. Ward. pinxt. 


80 A CottaGER GoInGc TO MARKET 
A CottraGer Return’D FROM MARKET 
Painted and engraved by Jas. Ward. 
A pair. 


WILLIAM WARD 


Born in London, 1766. Died December 21st, 1826. He served an ap- 
prenticeship with J. R. Smith and afterwards became his assistant. He 
engraved many of the pictures of his brother-in-law, George Morland. 


81 THe Sacap Giri 
After J. Hoppner. 


82. MorNING, THE FIisHERMAN’S DEPARTURE 
EVENING, THE FIisHERMAN’s RETURN 
After the paintings by R. Corbould. 

A pair. 


ENGRAVINGS AFTER GEORGE MORLAND 


“A GREAT painter though Morland was, he owes his real popularity 
to the engravings which have so admirably interpreted his work. . . . 
As Sir Joshua Reynolds remarked of McArdell and his fellows, so Mor- 
land might well have said of William Ward and John Raphael Smith, 
‘By these I shall be immortalized.’ 


Eee oy 


46 6 


The subjects of his pictures,’ wrote Dawe in 1806, ‘being adapted 
to common comprehensions, the prints engraved from them had an un- 
paralleled sale not only in this country, but abroad, particularly in 
France and Germany’. . . C. Josi, the famous Dutch collector and 
dealer, writes in 1821: “The craze for English engravings during the last 
fifty years is extraordinary. Everyone has developed a taste for them. 
. . . Lhey are snapped up as soon as they are seen, bring a certain and 
considerable profit, and few objects have ever met with so rapid and 
widely-extended a demand.’ 

“The success of the Morland engravings was doubtless due to the fact 
that their publishers took the tide of popular taste at the flood. It was 
also owing to the nature of the subjects, coming to the jaded Londoner 
sweet and fresh as the scent of new-mown hay. . . . Ward and Smith 
were the first to recognize the possibilities of Morland’s work, and to 
encourage him in painting subject-pictures at a time when portraits were 
putting money in his purse. Ward became Morland’s brother-in-law in 
1786, and it was he who brought the artist to the notice of John Raphael 
Smith, under whom he had served his apprenticeship. It was a fortunate 
day forallofthem. . . . Itis after all to Ward and Smith that Morland 
owes most. Their mezzotints and stipple engravings are full of sym- 
pathy and sweetness.”’ 

Martin Harpie 


‘*His work is a splendid possession in the national heritage of Art, 
and his pictures of English rural and domestic life in the eighteenth 
century have immortalized his memory.”’ 


J. T. Hersert Batty. Gzorce Morianp 


MEZZOTINTS 


83, CHILDREN GATHERING BLACKBERRIES 
Engraved by G. Dawe. 


84 CHILDREN NuTTING 
Engraved by E. Dayes. 


85 Nurse AND CHILDREN IN THE FIELDs 
Engraved by G. Keating. 


eas 4 


86 A Party ANGLING 
Engraved by G. Keating. 
THe ANGLERS REPAST 
Engraved by William Ward. 
A pair. 


87 SMUGGLERS 
FisHERMEN 


Engraved by J. Ward. 
A pair. 


STIPPLE ENGRAVINGS 


88 Sr. James's Park 
A TEA GARDEN 
Engraved by F. D. Soiron. 
A pair. 


89 Rustic EMPLOYMENT 
RuraLt AMUSEMENT 
Engraved by J. R. Smith. 
A pair. 


90 Duck SHOOTING 
Published by T. Simpson, April 21, 1790. 


THOMAS ROWLANDSON 


‘A DRAUGHTSMAN Who begins very near Watteau and ends amazingly 
near Daumier, traversing the intervening gulf parallel with Hokusai, 


surely is worthy of our attention. 


‘The recorded facts of Thomas Rowlandson’s life are few, and Joseph 
Grego, who wrote a learned work on Rowlandson as caricaturist in 
1880, was able to add little in the way of personalia to the testimony of 
Henry Angelo, the fencing master, and of that anonymous intimate who 
wrote the obituary for the Gentleman's Magazine. In fact Rowlandson 
was not a biographer’s artist. Between his art, conviviality and gaming, 


[ 26 ] 


he too impartially lavished his great energies. He lived far too keenly 
to wish to analyze or even confront the manner of his life. Except for 
Angelo, the publisher Ackermann, and a group of fellow-illustrators, 
equally unchronicled men, he seems to have had no intimates. In his 
forty-fourth year, to be sure, he married a Miss Stead, from the respect- 
able suburb of Camberwell, but we have no hint as to how she managed 
or endured her exuberant partner. Doubtless it was too late to reform 
the most honorable of London gamesters. More than once, surely, he 
had to repeat to her the saying quoted in his obituary, ‘I have played 
the fool, but here’—holding up his pencils—‘is my resource’.’’ 


Frank Jewett Matuer, Jr. Some Drawings by Thomas Rowlandson 


gt Vaux-Hatr 


“Vauxhall Gardens, which is possibly the best recognized of Row- 
landson’s more aspiring compositions, was engraved by R. 
Pollard, aquatinted to resemble the drawing, by F. Jukes, and 
published under the auspices of John Raphael Smith, also a con- 
vivial companion, a leading spirit amongst the careless souls 
who formed Rowlandson’s social surroundings. . . . 

“Angelo, in his Reminiscences, which touch upon every topic of 
the time, . . . recounts the partiality which he and Rowland- 
son entertained for the popular resort of the past. . . . ‘It was 
then crowded from four to six with gentry, demireps, appren- 
tices, shopboys, etc. Crowds of citizens were to be seen trudging 
home with their wives andchildren. Rowlandson, theartist, and 
myself have often been there, and he has found plenty of employ- 
ment for his pencil.’ 

"The Chef-d’ GEuvre of his caricatures, which is still in print, is his 
drawing of Vauxhall, in which he has introduced a variety of 
characters known at the time, particularly that of my old school- 


Pee TL? 


fellow at Eton, Major Topham, the macaroni of the day’. 
JosepH Greco. Rowlandson the Caricaturist 


The singer is Mrs. Weichsel, mother of the great Mrs. Billington, 
the pride of English operatic celebrities. The two ladies in the 
center of the picture are the fascinating Duchess of Devonshire 
and her sister, Lady Duncannon. Captain Topham is standing, 
dressed in a smart uniform, quizzing the ladies through his glass. 
The stout old commander, on the Duchess’s right, is Admiral 
Paisley; the clerical person over the shoulder of Lady Duncannon 
is a free rendering of Bate Dudley, the hero of a somewhat 
notorious Vauxhall adventure. Another conspicuous group 


(272i) 


introduces George, Prince of Wales, addressing himself covertly 
to the captivating Mrs. Robinson, Perdita. Within a supper box, 
to the left, are Doctor Johnson, Boswell, Mrs. Thrale and Oliver 
Goldsmith. : 


SPORTING PRINTS 


‘Year by year old sporting prints are being accorded a larger measure 
of public appreciation. . . . Many, not sportsmen themselves, or ad- 
dicted to hunting, shooting or racing, are included amongst the ad- 
mirers of these old world scenes, a number of which so vividly recall the 
full-blooded and robust life of a former generation, which in its amuse- 
ments and habits differed so greatly from our own. 

‘England at the end of the eighteenth and beginning of the nineteenth 
centuries was a sporting country in a different sense from to-day. The 
majority of hunting men, for instance, were squires who lived on their 
estates, a number of whom were well known as characters throughout 
the countryside. Hunting, with them, amounted occasionally to a sort 
of religion, and was not merely a pastime indulged in for purposes of 
relaxation and health. A full-blooded jolly lot, not a few of them 
hardly visited London at all, being well content to live and die amidst 
the rural surroundings which they loved so well. . . . It is therefore 
but natural that old sporting prints, many of which are imbued with a 
spirit of vivacity and life, constitute a source of real attraction to those 
interested in a more individualistic past. 

From these prints also can be reconstituted the travelling of past 
days when the sound of the coach-horn enlivened many a country road, 
and the handling of the ribbons was an accomplishment at which many 
well-known sportsmen loved to shine.’’ 


Ratpx Nevitx: Old Sporting Prints 


BOXING 


92 Tue Great Ficut Between Broome anp HANNAN 
FOR {.1,000. 
Which took place Janr. 26th, 1841, in the presence of Thousands of 


Spectators, at New Park Farm, near Bicester, Oxon, on the borders of 
Buckinghamshire. 


Painted by H. Heath. Engraved by C. Hunt. 
London. Published June 1, 1841, by J. Moore. 


[28 ] 


COACHING 
JACQUES LOUIS AGASSE 


93 Matt Coacu 


Pau oy |. 1. A.C). L. Agasse). Engraved by F. C. L. 
(F. C. Lewis.) 

London. Published October 1, 1820, by J. Watson, 7 Vere Street, 
Bond Street. 


94 Matt Coacu 


Painted by J. L. A. (J. L Agasse). Engraved by M. Dubourg, 
London. Published April 7, 1824, by J. Watson 7. Vere Street, 
Bond Street. 


ROBERT HAVELL 


95 THE Reapinc CoacHEs 
London. Published, Septr. 1, 1821, by R. Havell. 


96 A Lonpon Matt anp StaGE Coacu 
Published Janr. 1, 1825, by R. Havell. 


CHARLES HUNT 


97 [HE Rep Rover, SourHAMPTON CoacH 
Engraved by Chas. Hunt. 
London. Published Augt. 1st, 1836, by W. Soffe, 380 Strand. 


98 Tue Birto Day TEAM 
Drawn and engraved by Chas. Hunt. 


Published by G. S. Tregear, 96 Cheapside, London, where may 
be had the celebrated Print of ‘“The Dying Fox Hunter,”’ also 
“The Roadsters.”’ 


99 Tue RoapstTERs 
Drawn and engraved by Chas. Hunt. 


Published by G. S. Tregear, 96 Cheapside, London, where may 
be had the celebrated Print of ‘“The Dying Fox Hunter.”’ 


Bets a 


C. B. NEWHOUSE 
100 OpposITION CoaAcHEs AT SPEED 
Painted by C. Newhouse. Engraved by F. Rosenberg. 
London. Published Febr. 1832, by Jonn Watson, 7 Vere Stt 
Cavendish Sq¢ 


tor No TIME TO SPARE FOR REFRESHMENT, OVERTAKEN BY 
THE OPPOSITION 


UnbER WEIGH WITHOUT A Pinot 
A pair. 
Painted by C. B. Newhouse. Engraved by J. Harris, 


London. Published Septr. 30, 1836, by Ackermann & Co., 96 
Strand. 


102 Scottish ELEcTION: EscorTING THE RivAL CANDIDATES 
TO THE PLAcE oF NOMINATION 


ScOTTIsH ELECTION: THE STAGE COACH LEAVING WITH 
THE RESULT OF THE POLL 
A pair. . 
Drawn by C. B. Newhouse. Engraved by C. Rosenburg. 


JAMES POLLARD 
103 STAGE Coacu SETTING OFF 


Js. Pollard delt. R. Havell Fect. Pubd. May 29, 1816, by R. 
Pollard, Holloway near London. 


104 His Majesty Kinc Grorce IV Travettinc—View 
Hype Park 
Pollard Junr. delt. M. Dubourg Sculpt. 


London, Published and sold Jany 1. 1821 by Edwd. Orme. Pub- 
lisher to the King, Bond Street, corner of Brook Street. 


105 STAGE CoacH 
Painted by J. Pollard. Engraved by Dubourg. 


London. Published Nov. 1. 1822, by Jona Watson, 7 Vere Street, 
Bond Street. 
[ 30 ] 


106 Tue Mair Coacu IN A Drirt or SNow 


Painted by James Pollard. Engraved by G. Reeves. 
London. Published Sepr 21, 1825, by J. Watson. 7 Vere Street. 


107 THe Mart Coacw CHANGING Horszs 
Painted by James Pollard. Engraved by G. Reeves. 
London. Published Sep. 21, 1825, by J. Watson, 7 Vere Street. 


108 THE ELEPHANT AND CASTLE ON THE BRIGHTON RoapD 
Painted by James Pollard. Engraved by Theodore Fielding. 
London. Published, Feb. 7 1826, by J. Watson, 7 Vere Street. 


109 Main Beninp Time 
Painted by J. Pollard. Engraved by Reeves. 


Published Novr 30, 1831, by T. Helme, at his Picture Frame and 
Looking Glass Manufactory, 75 Tabernacle Square, Old Street 
Road. 


110 [HE CoacH AND Horsss, ILForD 
Painted by J. Pollard. 


Publisd by T. Helme, April 9th, 1832, at his Picture Frame 
Manufactory, 15 Tabernacle Square, Old St. Road. 


III QuicKsILVER Royat Mai 
Painted by J. Pollard. Engraved by C. Hunt. 


London. Published November 1st, 1835, by Ackermann & Co., 
96 Strand. 


G. TREGEAR 


112 THE EaGLe Paris AND Dovor Coacu 
Designed by G. Tregear. Engraved by Hy. Alken. 
London. Published by G. Tregear, 104 St. Martins Lane, 1827. 


bead 


COURSING 


113, COURSING 
Goinc Out 


FINDING 
Tue Hare’s Last Errort 


Tue DeatH 
Painted by D. Wolstenholme. Engraved by T. Sutherland. 
London. Published at R. Ackermann’s, 101 Strand, May 1,1823. 


Set of four. 


FISHING 


114 FisHERMEN 
Painted by P. Reinagle, R.A. Engraved by J. Hassell & W. 


Nicholls. 
London: Pubd. May 2, 1814, by J. Hassell & T. Rickards, 344 


Strand. 


FOX HUNTING 


115 HuNTERs AT COVER SIDE 
S. Alkins, Pinxt. J. Pollard Sculpt. 


BREAKING COVER 
Sartorius Pinx. Pollard Sculpt. 


Furi Cry 
Pollard Pinxt. Pollard Sculpt. 


Tue DeatTH 
Gill Esqr. Pinxt. Pollard Sculpt. 
London. Published 1st February 1822, by S. Knights, Sweetings 
Alley, Royal Exchange. 
Set of four. 
[ 32 J 


RACING 


HENRY ALKEN 


116 Epsom Races Witn THE Horszs PREPARING TO START FOR 
THE Two Mite Heat 
H. Alken delt. TT. Sutherland sculp. 


Epsom Races With Mr. THorNHILL’s CHESTNUT CoLT 
SAM, BEATING LorD DaRLINGTON’s GREY, AND SIR 
JouN SHELLY’s Prince Paut For THE DeErRBy STAKEs, 
May 28th, 1818 
H. Alken delt. T. Sutherland sculp. 


London. Published Feby. 9th, 1819, by T. & J. Fuller, at their 
Sporting Galleries, 34 Rathbone Place. 


A pair. 
J. BOULTBEE 
117 GOHANNA, WITH Mr. Tuomas Birp, AND A VIEW OF 
GOHANNA Farm AND LODGEs 


Painted by J. Boultbee. Engraved by Jukes and Sargent. 
Published Decr. 20, 1808, by J. Boultbee, Quorndon, near 


Loughborough. 
Gr KARP 
118 Bricguton Hurpzz Race, Dec. 20TH, 1833 
THE START 
Cominc In 
Drawn by G. Earp from a sketch by W. H. Mason. Engraved by 
C. Hunt. 


Published by W. H. Mason (Printseller & Publisher to the 
Queen) at his Repository of Arts, 1 Ship St., Brighton. 


A pair. 

‘Two other attractive oblong coloured prints are a pair by C. 
Hunt, after Earp, representing the Brighton Hurdle Race. These 
are rarely to be met with.”’ 

Rarex Nevity. Old English Sporting Prints and their History. Page 19 


Bea 


JOHN FREDERICK HERRING 


Born in Surrey, 1795. Until the age of eighteen his life was passed in 
London, and he then found employment in coach-painting at Doncaster. 
He next worked as a stage-coachman, and for years drove the ‘‘York and 
London Highflyer,’’ but he devoted all his leisure time to painting, be- 
coming known as the ‘‘artist coachman.’’ By the assistance of friends, 
he at last gave up the reins, and obtained some instruction from Abra- 
ham Cooper, the only art education he ever received. His earlier works 
were confined to race-horses, and for thirty three successive years he 
painted the winner of the St. Leger. He left Doncaster in 1830, and after 
a stay of about three years at Newmarket, settled in London, exhibiting 
at the Royal Academy from 1826, at the British Institution, and also at 
the Society of British Artists, of which he was a member from 1841 to 
1852. His art was very popular, and he received commissions from 
George IV, Queen Victoria, and the Duke of Orleans. He died at Tun- 
bridge Wells in 1865. 


119 [HE WINNERS OF THE GREAT St. LEGER STAKES 
AT DONCASTER 
1815 to 1839. 
The Series of Twenty-five. 


Painted by Mr. Herring, Doncaster. Engraved by Mr. Suther- 
land; R. G. Reeve; C. Hunt; R. W. Smart & C. Hunt. 


London, Pubd by S. & J. Fuller at their Sporting Gallery, 34 
Rathbone Place. 


Set of Subscriber’s proofs, with Pedigrees; the odds; and notes on 
the running. 


JAMES POLLARD 


120 Sir JosHUA AND FitHo pa Puta 


Pollard delt. | Rosenbourg, sculpt. 


Published & Sold, July 1, 1816, by Edwd. Orme, Bond Street, 
corner of Brook Street, London. 


121 Epsom Races 


Drawn and engraved by James Pollard. 
Pubd. Apl. 24, 1818, by R. Pollard, Hollaway, near London. 


Bees! 


122 Ascot Hratu Races 


Drawn and engraved by James Pollard. 
Pubd. Sepr. 28, 1818, by R. Pollard, Holloway, near London. 


123 Tne Race ror THE GoLp Cup at Ascor, 1829 
Painted by James Pollard. Engraved by J. Edge. 


London. Published July 24th, 1829, by Thos. McLean, 26 Hay- 
market, and Giraldon Bovinet a Paris. 


124 THE CELEBRATED HorsE PLENIPOTENTIARY AT Epsom 
Races, BEATING SHILALAH AND GLENCO 
J. Pollard, Delin. H. Pyall, Sculp. 


London. Published June 4th, 1834, by Thos. McLean, 26 Hay- 
market. 


125 Epsom Races 
Now Tuey’rE OFF 
J. Pollard Delin. Smart & Hunt, sculpt. 


London. Published June 2, 1834, by S & J Fuller at their Sporting 
Gallery, 34 Rathbone Place. 


126 A View OF THE GRAND STAND, DONCASTER, WITH Por- 
TRAITS OF THE WINNING HorsEs OF THE GREAT ST. 
LEGER STAKES, FROM 1815 
J. Pollard Delt. R. Pyall, Sculpt. 

Published Jany 1835, by Thos. McLean, 26 Haymarket, London. 


127 Goopwoop Races 
J. Pollard; Pinxt. H. Pyall, Sculpt. 


London. Published Feby 14, 1838, by Thos. McLean, 26 Hay- 
market. 


F. C. TURNER 


128 Heaton Park Raczs, 1835 
Painted by F. C. Turner. Engraved by R. G. Reeve. 
Published by J. McCormick, 147 Strand, London. 


Esa 


SHOOTING 


I29 IST OF SEPTEMBER. Ist OF OCTOBER. 
Set of four. 
Painted by S. J. E. Jones. Engraved by Geo. Hunt. 


London. Published by J. Moore, 1 West Street, upper St. Mar- 
tin’s Lane, 1827. | 


130 SHOOTING 
Set of four. 


Engraved by Dean Wolstenholme, Junior, from the paintings by 
his father, Dean Wolstenholme, Senior. 


‘A sporting artist, whose work was only second to that of Henry 
Alken was Dean Wolstenholme, Senior. Born in Yorkshire in 
1757, this artist was originally a man of independent means, 
whose time was largely devoted to sport. Originally he painted 
only for amusement, occasionally presenting his friends with 
portraits of favorite horses or hounds. Ruined by lawsuits, how- 
ever, he determined to make painting his profession, thereby 
verifying the prediction of Sir Joshua Reynolds, who had early 
observed the great talent of Wolstenholme, and predicted that he 
would in time develop into a serious painter.’ 


Rautpeu NEVILL. 


STAG HUNTING 


131 THE Eart or Dersy’s Srac Hounps 
Painted by Js. Barenger. Engraved by R. Woodman. 
Published May 15, 1823, by I. Griffin, Carshalton, Surry. 


Portraits of Lord Stanley; The Honble. E. Stanley; Jonathan 
Griffin, Huntsman; and the First Whipper-in. 


363) 





